A BLUE AND WHITE 'BUDDHIST LION' DISH, JIAJING TO WANLI PERIODChina, 1522-1619. The shallow rounded sides supported on a short foot, boldly painted to the interior with a central medallion enclosing two confronting Buddhist lions chasing a brocade ball and a cash coin encircled by a band of leafy bamboo lined with double borders below the rim. The exterior painted with a band of ruyi clouds and scrolling bamboo vines.Inscriptions: To the base, 'Yong bao chang chun' (Eternal life and everlasting spring).Provenance: Canadian trade. Condition: Good condition with minor wear, and manufacturing flaws including tiny frits, slightly warped, kiln grit, pitting, dark spots, and a firing crack.Weight: 190.9 g Dimensions: Diameter 16.2 cmAuction result comparison: Type: Related Auction: Christie's London, 10 May 2011, lot 260 Price: GPB 12,500 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A Ming Blue and White Bottle Vase, Jiajing Period (1522-1566), the base with a four-character inscription reading 'yong bao chang chun' Expert remark: Compare the identical mark嘉靖至萬曆年代青花開光雙獅戲毬小碟中國，1522-1619年。淺弧腹，淺圈足，碟子内壁竹葉紋，中央開光描繪兩隻追逐錦球的太獅，空白之處有一枚錢幣。碟子外壁如意雲紋、纏枝紋帶。 款識：圈足内“永保長春”四字款 來源：加拿大古玩交易 品相：品相良好，有輕微磨損和製造缺陷，包括輕微翹曲、窯砂、點蝕、黑點和燒製裂紋。 重量：190.9 克 尺寸：直徑 16.2 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年5月10日，lot 260 價格：GPB 12,500（相當於今日EUR 18,000） 描述：嘉靖青花「永保長春」瓶 專家評論：比較相同的款識。
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A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。
A THANGKA OF SHERAB CHAMMA, TIBET, 18TH CENTURYDistemper and gilt on cloth. Depicting Sherab Chamma at the center, seated in dhyanasana on a cushioned throne, her right hand holding an amrita vase at the chest, the left hand with a mirror, backed by a circular halo, surrounded by numerous seated and standing deities.Provenance: The Richard & Magdalena Ernst Collection of Himalayan Art. Sotheby's New York, 22 March 2018, lot 957, estimate of USD 10,000 or approx. EUR 10,500 (converted and adjusted for inflation at the time of writing). Richard Robert Ernst (1933-2021) was a Swiss physical chemist and Nobel Laureate. He was awarded the Nobel Prize in Chemistry in 1991 for his contributions towards the development of Fourier transform nuclear magnetic resonance (NMR) spectroscopy while at Varian Associates and ETH Zurich. He humbly referred to himself as a "tool-maker" rather than a scientist. Besides toiling with his work, Ernst also enjoyed music and art, specifically Tibetan paintings. Using scientific techniques, Ernst would research the pigments on the scrolls to learn about their geographic origin and age. Condition: Good condition with some wear, little creasing, minor losses, staining, and water damage to the right. Minimal touch-ups.Dimensions: Image size 74 x 49.5 cm, Size incl. mounting 90.7 x 65 cmSherab Chamma (Loving Mother of Wisdom) is the principal meditational form of Satrig Ersang, one of the Four Transcendent Lords and a female deity of the Bon religion. She is usually depicted either as a single subject in a composition or she has numerous surrounding attendant figures.Literature comparison:Compare a related thangka of Sherab Chamma, 19th century, Tibet, in the Rubin Museum of Art, object number C2005.4.7.十八世紀西藏希繞強瑪唐卡布面膠彩描金。希繞強瑪結跏趺坐端坐在寶座上，右手捧甘露瓶於胸前，左手執鏡，背有圓形光背，周圍環繞著無數本尊。 來源：紐約蘇富比The Richard & Magdalena Ernst Collection of Himalayan Art拍賣，2018年3月22日, lot 957，估價 USD 10,000 或相當於 EUR 10,500 (根據通貨膨脹率)。Richard Robert Ernst (1933-2021) 是瑞士物理化學家和諾貝爾獎獲得者。 1991 年，他因在 Varian Associates 和 ETH Zurich 對Fourier變換核磁共振 (NMR) 光譜學的發展做出的貢獻而獲得諾貝爾化學獎。 他謙虛地稱自己為“工具製造者”而不是科學家。 除了辛勤工作，Ernst還喜歡音樂和藝術，尤其是西藏繪畫。Ernst使用科學技術研究捲軸上的顏料，以瞭解它們的地理來源和年代。 品相：狀況良好，右側有一些磨損、少量摺痕、輕微缺損、汙漬和水漬，小修補。 尺寸：畫面74 x 49.5 釐米, 總 90.7 x 65 釐米 希繞強瑪（慈愛的智慧之母）是薩智艾桑的主要冥想形式，薩智艾桑是苯教的女神。 她通常繪畫主題或周圍伴隨諸神。 文獻比較： 比較一件相近的十九世紀西藏希繞強瑪唐卡，收藏於Rubin Museum of Art，館藏編號C2005.4.7
A BLUE AND WHITE 'SAGE AND ATTENDANT' BEAKER VASE, GU, KANGXI PERIODChina, 1662-1722. Of cylindrical form with a flaring mouth and foot, the bulging middle section vibrantly painted with detached floral sprigs, leaves, and a beetle, below a river landscape scene with a sage and his attendant walking toward a bridge below towering trees and swirling clouds, and above a similar landscape scene with the same sage and attendant continuing their journey as well as a fisherman in a boat and a scholar seated on a rocky outcrop.Provenance: From a private collection in Oxfordshire, United Kingdom, acquired in London during the 1990s. Condition: Good condition with some old wear and expected firing irregularities, a small chip to the rim, minor fritting to the rim and lower bowstring, drilled to base with associated glaze nibbles, the foot with a tiny chip. Small smoothened areas, possibly inherent to the manufacture. The vase slightly leaning. Overall presenting spectacularly well.Weight: 2,979 g Dimensions: Height 43 cmThe base with an apocryphal underglaze-blue six-character mark da Ming Chenghua nianzhi.Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 11 June 2021, lot 3253 Price: HKD 250,000 or approx. EUR 30,500 converted and adjusted for inflation at the time of writing Description: A large blue and white 'figural' gu-form beaker vase, Kangxi periodExpert remark: Compare the closely related form, subject, decoration, and manner of painting. Note the related size (44.5 cm) and empty double circle to base. Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2013, lot 138 Price: USD 37,500 or approx. EUR 45,000 converted and adjusted for inflation at the time of writing Description: A blue and white beaker vase (gu), Qing dynasty, Kangxi period Expert remark: Compare the closely related form, decoration, manner of painting, and apocryphal Chenghua reign mark. Note the related size (44.7 cm).康熙青花山水人物紋花觚中國，1662-1722年。撇口，口沿下收，鼓腹，圈足。腹部描繪花枝、葉子和小昆蟲。上下描繪聖人和他的侍從在山水景觀中，並可見一個漁夫在船上，一個學者坐在岩石露頭上。 來源：英國牛津郡私人收藏。，上世紀九十年代購於倫敦。 品相：狀況良好，有一些磨損，邊緣有一個小缺口，邊緣和弦紋下有輕微的磨損，底部的鑽孔有釉料磨損，足部有一個小缺口。花瓶微微傾斜。 重量：2,979 克 尺寸：高 43 厘米 圈足内有青花仿“大明成化年製”六字款。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2021年6月11日，lot 3253 價格：HKD 250,000（相當於今日EUR 30,500） 描述：清康熙青花山水高士圖花觚 專家評論：比較非常相近的外形、主題、裝飾和繪畫風格。請注意相近的尺寸(44.5 厘米) 和圈足沒有款式。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2013年3月19日，lot 138 價格：USD 37,500（相當於今日EUR 45,000） 描述：清康熙青花高土賞游圖觚 專家評論：比較非常相近的外形、裝飾和繪畫風格，以及成化款。請注意相近的尺寸(44.7 厘米)。
A BLUE AND WHITE YENYEN VASE, KANGXI PERIODChina, 1662-1722. Painted in deep purplish underglaze blue with figures in mountainous river landscapes, on both the body and the neck a scholar converses with an attendant on a river bank while a fisherman is in a sampan in the river nearby. Note the finely graduated shades of blue, adding a third dimension to the magnificent scene.Provenance: The Holzapfel Collection (label to base). A Swedish private collection, formed during the 1950s and 1960s, acquired from the above, and thence by descent in the family. Condition: The mouth rim with a small chip and associated old fill. A U-shaped crack extending from there, with a section of the mouth broken off and sensitively reattached. Some wear, expected firing irregularities, extensive fritting to rim, but no spraying or overpainting of any kind.Weight: 3,536 g Dimensions: Height 44 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 29 March 2006, lot 431 Price: USD 27,600 or approx. EUR 37,000 converted and adjusted for inflation at the time of writing Description: A blue and white yenyen vase, Kangxi periodExpert remark: Note the size (45.1 cm)康熙青花山水人物鳳尾尊中國，1662-1722年。尊撇口、長頸、溜肩、腹以下漸斂，近足處外撇、圈足。通體青花裝飾。器身採用通景式構圖繪山水人物圖，畫面中高山聳立，流水潺潺，幾位人物坐於石板之上或談笑風生，或舉桿垂釣，悠然自得，表現出士大夫避世隱逸的生活情趣。 來源：Holzapfel 收藏 (見底部標籤)；瑞典私人收藏，建立於上世紀五六十年代，購於上述收藏，在同一家族保存至今。 品相：口邊有一個小嗑損和相關的小修補。一條U型的裂紋從那裡延伸出來，口部一部分被折斷，經過黏貼。一些磨損，邊緣有大量熔塊，但沒有任何類型的噴塗或塗漆。 重量：3,536 克 尺寸：高 44 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2006年3月29日，lot 431 價格：USD 27,600（相當於今日EUR 37,000） 描述：康熙青花鳳尾尊 專家評論：請注意尺寸(45.1 厘米)
AN INSIDE-PAINTED GLASS SNUFF BOTTLE, BY BI RONGJIU (1874-1925), DATED 1893With a landscape to one side, the reverse with a still life of a spray of plum blossoms in a guan ware vase, with a scholar's rock and potted plants.Inscriptions: To one side, signed 'Rongjiu', and dated 'In Autumn of the Year of Guisi (corresponding to 1893)'. One painted seal.Provenance: Hugh M. Moss Ltd., London, United Kingdom, 1973. A private collector in the United Kingdom, acquired from the above, and thence by descent. The base with an old label, '1', and lacquered with an old inventory number, '8429'. A copy of the original invoice from Hugh M. Moss Ltd., dated 28 February 1973, noting the inventory number '8429' for the present lot, and confirming the attribution and dating above, accompanies this lot. The invoice also notes that 1893 was the artist's “first recorded year of this medium.” Hugh Moss (b. 1943) is an author, dealer, artist, lifelong collector, and enthusiast of Chinese art, and foremost authority on Chinese snuff bottles. Condition: Very good condition with minor wear and manufacturing irregularities. The stopper with a small chip.Stopper: Amber Weight: 28.9 g Dimensions: Height incl. stopper 67 mm. Diameter neck 15 mm and mouth 7 mmBi Rongjiu (1874-1925) established the Shandong School of inside-painted snuff bottles after substantial training in Beijing. His early work is mostly inspired by Zhou Leyuan and Ma Shaoxuan. After 1897, his personal style became more distinct.Auction result comparison: Type: Closely related Auction: Bonhams New York, 16 September 2013, lot 8048 Price: USD 5,000 or approx. EUR 6,100 converted and adjusted for inflation at the time of writing Description: An inside painted glass snuff bottle, Bi RongjiuExpert remark: Compare the closely related depiction to both sides of the snuff bottle.畢榮九(1874-1925)款内畫鼻煙壺，1893年一面為山水風景，另一面為文房擺設，花瓶中有一枝梅花以及文石和盆栽。 款識：癸巳仲秋，榮九作 來源：英國倫敦Hugh M. Moss Ltd.藝廊，1973年；一個英國私人收藏，購於上述藝廊，保存至今。底座有標籤 '1'以及一個漆寫收藏編號 '8429'。隨附Hugh M. Moss Ltd. 1973年2月28日出具的原始發票複印本，上面也注明了編號 '8429'，並確認時間。在發票上也注明，1893年是藝術家第一個有記錄的時間。Hugh Moss (出生於 1943年) 是一位作者、經銷商、藝術家、終身收藏家、中國藝術愛好者，中國鼻煙壺研究界的權威。 品相：狀況極好，有輕微磨損和製造不規範，壺蓋有小開片。 壺蓋：琥珀 重量：28.9 克 尺寸：含壺蓋高67 毫米. 頸部直徑15 毫米 ，壺口直徑7 毫米 拍賣結果比較： 形制：非常相近 拍賣：紐約邦瀚斯，2013年9月16日，lot 8048 價格：USD 5,000（相當於今日EUR 6,100） 描述：畢榮九款内畫鼻煙壺 專家評論：比較非常相近的兩面繪畫。
AN UNUSUAL GREEN GLAZED 'TAOTIE MASK' AMPHORA VASE, EASTERN HAN - SIX DYNASTIES PERIODChina, 25 to 581 AD. The compressed body supported on a spreading foot, with long neck and flaring rim, the shoulders molded with four taotie masks suspending mock rings, the neck decorated with ribs, covered in an olive-green glaze stopping irregularly above the foot and pooling over the rim into the interior. The foot and interior unglazed, revealing the buff-orange ware. Provenance: From the collection of R. Marian Hicks, OBE, who was a professor at the School of Pathology and Department of Oncology at Middlesex Hospital Medical School, London. She was an avid collector of Tang and Song dynasty ceramics and her noted collection also included Chinese bronzes, textiles, and rank badges. Condition: Good condition with expected wear, weathering, soil encrustations and general traces of age, overall exactly as expected for a piece of this age. A small crack to the base, glaze flakes, and manufacturing flaws, including glaze recesses and firing flaws.Weight: 1,515 g Dimensions: Height 26.2 cm東漢至六朝綠釉饕餮紋瓶中國，25至581年。瓶寬口外撇，長頸，豐肩，圈足外撇。肩部飾四啣環饕餮紋輔首，頸飾弦紋，通體施綠釉，外壁止於足上，内壁至於頸部。底部和內部未上釉，露出淺黃色胎。 來源：R. Marian Hicks私人收藏，她是倫敦米德爾塞克斯醫院醫學院病理學院和腫瘤學系的教授。她特別喜歡收藏唐宋陶瓷，收藏中還包括中國青銅器、紡織品和軍銜徽章。 品相：品相良好，有磨損、風化、土壤結殼和使用痕跡，底部小裂紋、釉面剝落和釉面凹陷和燒製缺陷。 重量：1,515 克 尺寸：高 26.2 厘米
A COPPER-RED AND UNDERGLAZE-BLUE 'LOTUS' SQUARE VASE, EARLY QING DYNASTYChina, 18th century. Finely painted with variously shaped panels enclosing flowers and rockwork, surrounded by lotus blossoms borne on leafy scrolling vines. Covered in a transparent glaze save for the unglazed broad foot rim, the recessed square in the center glazed as well.Provenance: British trade. Condition: Very good condition with minor old wear and expected firing irregularities typical of period and ware, minor fritting to shoulders, tiny frits to rim and edges. The vase slightly leaning.Weight: 3,927 g Dimensions: Height 44 cmAuction result comparison: Type: RelatedAuction: Sotheby's New York, 21 September 2022, lot 391 Price: USD 25,200 or approx. EUR 23,500 converted at the time of writing Description: A copper-red and underglaze-blue 'landscape' quadrangular vase, Qing dynasty, Kangxi periodExpert remark: Compare the closely related form and underglaze-blue and copper-red decoration. Note the related size (46.4 cm). Note also that unlike the present lot this vase has considerable condition issues, including a restored break at the mouth rim, a restored chip to one shoulder, a hairline crack, and overspray.清初青花紅彩開光方瓶中國，十八世紀。青花卷葉紋地，瓶身開光描繪花卉紋。圈足未上釉。 來源：英國古玩交易。 品相：狀況良好，有輕微磨損和燒製不規則，肩部有輕微的熔塊，邊緣有小的熔塊。花瓶微微傾斜。 重量：3,927 克 尺寸：高 44 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2022年9月21日，lot 391 價格：USD 25,200（相當於今日EUR 23,500） 描述：清康熙青花釉裏紅山水人物圖方瓶 專家評論：比較非常相近的外形和青花釉裏紅。請注意相近的尺寸(46.4 厘米)。請注意，與本拍品不同，此花瓶存在相當大的狀況問題，包括口緣破損修復、肩部破損修復、髮際線裂紋和過度噴漆。
A MING-STYLE BLUE AND WHITE BOTTLE VASE, GUANGXU MARK AND PERIODChina, 1875-1908. The globular body is finely painted in vibrant tones of cobalt blue with a composite floral scroll above a band of lotus petals and classic scroll at the foot, and below a trefoil cloud collar and another composite floral scroll around the shoulder. The tall neck is further decorated with key fret and upright plantain leaves, and breaking waves at the flaring mouth. The base with an underglaze-blue six-character mark da Qing Guangxu nianzhi and of the period.Provenance: The trade in Paris, France.Condition: Excellent condition with minor wear and firing irregularities, including few minute glaze gaps.Weight: 2,418 g Dimensions: Height 39 cmLiterature comparison: A similar Guangxu-period vase is illustrated in Blue and White Porcelain with Underglazed Red (III). The Complete Collection of Treasures of the Palace Museum, vol. 36, Hong Kong, 2000, p. 174, no. 159. See a related vase from the Daoguang period, illustrated by G. Avitabile, Vom Schatz der Drachen (From the Dragon's Treasure), London, 1987, p. 65, no. 87, where the author notes that “this type of bottle vase is mentioned in the imperial lists of the Tongzhi and Guangxu periods, and was used as a gift for the distinguished service to the emperor”.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 787 Price: USD 52,500 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A Ming-style blue and white bottle vase, Guangxu six-character mark in underglaze blue and of the periodExpert remark: Compare the closely related form and decoration. Note the smaller size (35.5 cm). Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 30 November 2011, lot 2956 Price: HKD 437,500 or approx. EUR 71,000 converted and adjusted for inflation at the time of writing Description: A fine blue and white Ming-style bottle vase, Tongzhi six-character mark and of the periodExpert remark: Compare the closely related form, decoration, and near-identical size (39.4 cm). Note the Tongzhi reign mark.光緒款及年代明代風格青花纏枝蓮紋賞瓶中國，1875-1908年。瓶撇口，長頸，肩凸起弦紋，圓腹，圈足略高微向外撇。主體圖案青花繪纏枝蓮，輔以海水、如意雲頭、蕉葉、迴紋、變形蓮瓣和忍冬紋等邊飾。圈足內有青花楷書“大清光緒年製”六字款。 來源：法國巴黎古玩交易。 品相：品相極佳，有輕微磨損和燒製不規則，包括極少的釉縫。 重量：2,418 克 尺寸：高 39 厘米 文獻比較： 一件相似的光緒時期花瓶，見《故宮博物院藏文物珍品全集‧青花瓷》，卷36，香港，2000，頁174，編號159。見一件相近的道光時期花瓶，見G. Avitabile，《Vom Schatz der Drachen (From the Dragon's Treasure)》，倫敦，1987年，頁65，編號87；作者在文中寫道：“此瓶在同治、光緒年間的御製表中均有提及，是作為貢品獻給皇帝的” 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年3月23日，lot 787 價格：USD 52,500（相當於今日EUR 56,500） 描述：清光緒青花纏枝蓮紋賞瓶，六字楷書款 專家評論：比較非常相近的外形和裝飾。請注意尺寸較小(35.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2011年11月30日，lot 2956 價格：HKD 437,500（相當於今日EUR 71,000） 描述：青花纏枝蓮紋賞瓶，雙行六字楷書款 專家評論：比較非常相近的外形、裝飾，以及幾乎相同的尺寸(39.4 厘米)。請注意同治款。
A LOBED FLAMBE GLAZED VASE, QING DYNASTYChina, late 18th to first half of 19th century. The bulbous body with its distinctively lobed form tapering towards the foot and surmounted by a waisted neck, covered to the exterior in a deep crimson tone with mushroom streaks thinning to lavender and pale blue, and interspersed with dark brown specks. The interior covered in a dark brown glaze.Provenance: From a private estate in Boston, Massachusetts, USA. Condition: Good condition with natural wear and some firing irregularities. The base drilled with an associated old fill. The foot smoothened in some areas, probably inherent to manufacturing, due to the uneven glaze dripping along the rim which is expected from this type of ware.Weight: 2,624 g Dimensions: Height 25.5 cmAuction result comparison:Type: Closely related Auction: Christie's London, 9 November 2010, lot 448Price: GBP 4,475 or approx. EUR 6,900 converted and adjusted for inflation at the time of writingDescription: A Chinese Flambe Lobed Vase, 18th/19th CenturyExpert remark: Compare the closely related form. Note the larger size (36.8 cm).清代窯變釉瓶中國，十八世紀末至十九世紀前半葉。瓶花口外撇，豐肩，圓腹，腹下向腳部逐漸變細。瓶身通體施窯變銅紅釉，器身呈絳紅色，紫釉與天藍、月白兩色斑駁相間，內施褐色釉。 來源：美國馬賽諸塞州波斯頓私人收藏。 品相：品相良好，有自然磨損和一些燒製不規則。底座有填充物。足部局部光滑，可能是製造所固有的，因為這種類型的器皿釉料會沿著邊緣滴下而成不均勻狀。 重量：2,624 克 尺寸：高 25.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2010年11月9日，lot 448 價格：GBP 4,475（相當於今日EUR 6,900） 描述：十八/十九世紀窯變釉瓶 專家評論：比較非常相近外型。請注意尺寸較大(36.8 厘米)。
A CLOISONNE ENAMEL 'PRECIOUS OBJECTS' CIRCULAR WALL PLAQUE, JIAQING PERIODChina, 1796-1820. The circular plaque is finely enameled with a large blue and white baluster vase on a carved stand at the center, issuing blossoming peonies and prunus, flanked by an ornate cloisonne censer and a colorful brush holder with calligraphy implements including brushes and paper, backed by two books and a waterpot, the foreground scattered with fruits, all above a turquoise wan-diaper ground.Provenance: From an old Austrian private estate, where it was originally fitted into an old German sideboard dating from circa 1870-1880. The back with an old label '60 frco'. Condition: Very good condition with minor wear, few scratches, light nicks, little warping, small chips and losses to the edge, and pitting as expected. The back with scratches.Weight: 1,680 g Dimensions: Diameter 41.7 cmCloisonne enamel plaques were popular from the second half of the 16th century onwards and became particularly popular during the mid-Qing dynasty, bringing vibrant colors to the imperial palaces' interiors. These plaques were used on screens, large furniture such as imperial thrones, or as decorative framed hanging panels.Literature comparison: Compare a related cloisonne plaque, dated mid-Qing dynasty, illustrated in Compendium of Collections in the Palace Museum: Enamels, vol. 4, Beijing, 2011, pls. 133-148. Compare related cloisonne panels decorated with antiques, dated to the second half of the 18th century, illustrated in H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, nos. 307-310.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 7 June 2021, lot 743Price: GBP 35,250 or approx. EUR 49,000 converted and adjusted for inflation at the time of writingDescription: A large cloisonne enamel 'precious objects' circular plaque, Qianlong/JiaqingExpert remark: Compare the closely related form and motif. Note the significantly larger size (67.1 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 22 June 2017, lot 175Price: EUR 25,000 or approx. EUR 28,500 adjusted for inflation at the time of writingDescription: A gilded bronze and cloisonne enamel plaque, Qing dynasty, Jiaqing-Daoguang periodExpert remark: Compare the closely related motif and size (41.3 x 50.8 cm). Note the rectangular form.嘉慶掐絲琺瑯博古紋壁盤中國，1796-1820年。圓盤銅胎掐絲琺瑯，盤内藍地修飾博古紋，一個青花賞瓶中插著三朵盛開的牡丹；瓶兩側分別是一個仿古景泰藍香爐和一個木紋釉筆筒，筆筒裏放著毛筆，瓶后有書籍和筆洗；瓶子前面散落著水果。 來源：奧地利私人舊藏，它最初被安置於大約 1870-1880 年的舊德國餐具櫃中。背面帶有舊標籤“60 frco”。 品相：狀況極好，輕微磨損與劃痕、刻痕和小翹曲，邊緣有小缺口，點蝕。背面有劃痕。 重量：1,680 克 尺寸：直徑 41.7 厘米 銅胎掐絲琺瑯壁飾從十六世紀下半葉開始流行，並在清朝中葉盛行，為皇宮的內部增添了鮮豔的色彩。這些壁飾被用在屏風、大型家具（如皇家寶座）上。 文獻比較： 比較一件相近的明代中期銅胎掐絲琺瑯掛屏，見 《故宮博物院藏品大系‧琺瑯器編》，卷 4，北京，2011年，圖133-148。比較一件相近的十八世紀下半葉銅胎掐絲琺瑯古董紋掛屏，見 H. Brinker 和 A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，編號307-310。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2021年6月7日，lot 743 價格：GBP 35,250（相當於今日EUR 49,000） 描述：清乾隆/嘉慶銅胎掐絲琺瑯博古圖「百事如意」圓掛屏 專家評論：比較非常相近的外形和主題。請注意明顯尺寸較大 (67.1釐米)。 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2017年6月22日，lot 175 價格：EUR 25,000（相當於今日EUR 28,500） 描述：清嘉慶/道光掐絲琺瑯清供圖長方屏 專家評論：比較非常相近的主題和尺寸(41.3 x 50.8釐米)。請注意此屏是長方形。
A SUPERB DOUCAI DOUBLE-GOURD VASE, LINGZHI MARK, LATE 17TH TO EARLY 18TH CENTURYChina, c. 1680-1730. Finely painted in underglaze blue and enamels in shades of green, red, yellow, and aubergine to the upper pear-shaped section with three boys at play and to the lower section with a continuous scene of officials meeting foreign envoys in a garden with palm trees and lingbi stones. The recessed base with a lingzhi fungus mark within a double circle, neatly painted in underglaze blue.Provenance: A noted private collection in Texas, USA. Christie's New York, 19 March 2021, lot 871 (dated 18th century), sold for USD 15,000 or approx. EUR 15,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. A copy of the original invoice from Christie's accompanies this lot.Condition: Magnificent condition with only minor wear to enamels, some shallow surface scratches here and there, and few firing irregularities. Extremely rare to find an authentic, early and large piece of Doucai ware in such a pristine state of preservation.Weight: 957 gDimensions: Height 26.5 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including lingzhi fungus marks in double circles.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 March 2017, lot 1213Price: USD 118,750 or approx. EUR 131,000 converted and adjusted for inflation at the time of writing Description: A Large Doucai Vase, Kangxi-Yongzheng Period (1662-1735) Expert remark: Compare the subject, style of painting, enamels, and material. Note the larger size (39 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.十七世紀末至十八世紀初鬥彩人物場景葫蘆瓶中國，約1680-1730年。葫蘆形瓶，上部分可見三個在玩耍的兒童，下部為官員在園中會見外國使節的場景。青花勾勒，琺瑯彩繪製。圈足內雙圈靈芝款。 來源：美國德克薩斯知名私人收藏；紐約佳士得，2021年3月19日，lot 871 (描寫為十八世紀)，售價 USD 15,000或相當於 EUR 15,000 (根據通貨膨脹率)；私人藏家，購於上述拍賣。隨附佳士得原始發票複印本。 品相：狀況極佳，僅琺瑯有輕微磨損，表面有一些淺劃痕，輕微燒製不規則。難得有保存如此完整的早期大件鬥彩瓶。 重量：957 克 尺寸：高 26.5 釐米 專家注釋：清朝初期，直至 1680 年代，中國局勢動盪不安，宮廷器物的製作和年號在瓷器上的使用受到各種形式的限制。在此期間，出現了不同類型的其他款識，包括雙圈靈芝標記。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1213 價格：USD 118,750（相當於今日EUR 131,000） 描述：清康熙/雍正鬥彩亭臺仕女圖瓶 專家評論：比較主題、繪畫風格、琺瑯和材料。請注意尺寸較大(39 厘米)。
A COPPER ALLOY FIGURE OF AMITAYUS, NEPAL, C. 14TH-15TH CENTURY OR EARLIERRemarkably solid cast with a total weight of almost 2 kilograms. The Lord of the Western Paradise seated in dhayanasana on a lotus base with neatly incised petals atop a footed and pierced pedestal, holding the amrita vase in his lap. Dressed in a sanghati with the folds elegantly arranged below the ankles and wearing a shawl drawn across the body. The face with heavy-lidded eyes below finely incised brows, adorned in beaded jewelry, the hair in a tall chignon behind a foliate tiara, and backed by a flaming mandorla.Provenance: From a French private collection. A noted Hungarian collector, acquired from the above. Condition: Good condition with significant old wear, scattered nicks and dents, light surface scratches, small cracks to the mandorla, and expected casting flaws. Remnants of blue pigment in the hair and tiny remnants of gilt on the left ear and crown. Fine, naturally grown, copper-red patina overall.Weight: 1,868 gDimensions: Height 18.2 cmExpert's note: The present sculpture appears to be an ancient copy of an even older Nepalese bronze, with several distinct features from works of the 9th and 10th century, including the incised lotus petals, the foliate crown, the beaded jewelry, the shawl and garment. See for example Bonhams Hong Kong, 7 October 2019, lot 805, and Sotheby's New York, 22 September 2020, lot 322. While it seems rather difficult to accurately date such a work, it was clearly made not much later than the 15th century, as evidenced by the heavy weight of the cast, the characteristic old wear including the many small nicks and dents, as well as the finely incised yet sparse detail work, which does not appear in this distinct setting on later works.Auction result comparison: Type: Closely related Auction: Christie's New York, 19 March 2013, lot 340 Price: USD 52,500 or approx. EUR 65,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Amitayus, Nepal, circa 13th centuryExpert remark: Compare the closely related expression, the jewelry with especially similar earrings and crown, and the distinct patina color of the copper alloy. Note that the figure itself is larger (18.7 cm) than the present lot if you discount the base and mandorla.Auction result comparison: Type: Related Auction: Christie's Paris, 15 December 2010, lot 321 Price: EUR 63,400 or approx. EUR 83,000 adjusted for inflation at the time of writing Description: A rare gilt-copper figure of Manjushri, Nepal, 14th/15th centuryExpert remark: Note the closely related size (18.5 cm)十四至十五世紀或更早尼泊爾銅合金阿彌陀佛坐像非常堅固的鑄像，總重近2公斤。阿彌陀佛結跏趺坐在蓮花座上，髮髻高聳，頭戴葉狀頭飾，眉毛細長，雙眼為垂，身披僧衣，衣紋褶皺優雅，飾有瓔珞。背後有火焰光背。 來源：法國私人收藏；知名匈牙利藏家購於法國。 品相：狀況良好，有明顯的磨損，局部有刻痕和凹痕，表面有輕微的劃痕，光背上有小裂紋和鑄造缺陷。頭髮中殘留的藍色色素以及左耳和皇冠上的微小鍍金殘留物。整體包漿細膩成銅紅色及銅綠色。 重量：1,868 克 尺寸：高18.2 厘米 專家注釋：此件造像看上去像是一件更古老的尼泊爾青銅造像的複製品，具有與九世紀和十世紀作品截然不同的幾個特徵，比如蓮花花瓣、葉狀皇冠、瓔珞配飾、披巾和衣服。例如，香港邦瀚斯拍賣行，2019年 10 月 7 日，拍品編號 805，以及紐約蘇富比拍賣行，2020年9 月 22 日，拍品編號 322。雖然要準確確定此類作品的年代相當困難，但顯然它的創作時間不晚於十五世紀，正如鑄件的重量、包括許多小刻痕和凹痕在內的典型磨損以及精美的細節工作所證明的那樣。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2013年3月19日，lot 340 價格：USD 52,500（相當於今日EUR 65,000） 描述：十三世紀尼泊爾阿彌陀佛銅像 專家評論：比較非常相近的表情、相似的耳環和頭冠，以及銅合金特殊的古銅色。請注意如果不算底座和光背，此銅像尺寸比我們的銅像較大 (18.7 厘米) 。
AN IMPERIAL MOLDED GOURD 'SHOU' SNUFF BOTTLE, QIANLONG SHANGWAN MARK AND OF THE PERIODChina, 1736-1795. Of square section and double-gourd form with a short cylindrical neck, the lower bulb with four main sides each enclosing shou medallions alternating with pairs of triangular panels, the upper bulb with four sides similarly molded with shou characters. The mouth rim neatly fitted with a tortoiseshell top platelet. The base with a molded Qianlong shangwan four-character mark which is only partly legible.Provenance: From the collection of Chip and Muffy Matthews, St. Louis, USA. Churchill “Chip” Matthews, Jr. (1940-2021) and Martha “Muffy” Matthews were American collectors of Chinese snuff bottles who traveled extensively. Chip was a US army veteran, who founded the noted medical company Wrymark Inc. in 1989. In 2013, their private garden was featured by St. Louis Homes and Lifestyles as the 'Garden of the Year'. Condition: Very good condition with extensive old wear as expected and some manufacturing irregularities, including the partially obscured Qianlong mark, and few tiny nicks.Stopper: Gilt metalWeight: 11.6 g Dimensions: Height incl. stopper 94 mm. Diameter neck 17 mm and mouth 5 mmGourd vessels such as the present example were formed by placing a wooden mold around the young gourd and allowing the natural growth within these confines to form the shape and decoration. None of the decoration or the mark is cut by a knife, all is a mirror of the carved decoration within the mold. The earliest known use of such a technique appears to date to the Warring States period (480-221 BC). A gourd mouthpiece for a musical instrument was found in a Chu tomb in Changsha, Hunan province. Though 16th-century texts attest to the gourd-molding technique, the earliest extant examples appear to date to the reign of Kangxi.The appreciation of gourd molding, which had flourished under the Kangxi Emperor, experienced a short revival during the Qianlong era where it was reserved for an exclusive group of gourd vessels commissioned by the Emperor himself for his personal enjoyment and collection.Expert's note: For further discussions on gourd vessels see W. Weng and Y. Boda, The Palace Museum: Peking, Treasures of the Forbidden City, p. 287, and H. Moss, Arts from the Scholar's Studio, nos. 91 and 92. Hugh M. Moss, ibidem, page 124, states, “The Kangxi and Qianlong periods mark the height of decorated gourds for the good reason that both Emperors were keen collectors. The Kangxi Emperor's enthusiasm is vouched for by his development of this humble art form in the palace, and is further endorsed by the demonstration of the Qianlong Emperor's interest, when he wrote a foreword to a poem entitled 'In Praise of a Gourd Vessel', as follows: “The manufacture of gourd vessels started in the Kangxi era when the Emperor ordered that gourds be grown into molds to produce bowls, jars, dishes, and boxes as required. The vessels are admirably natural and yet exquisite, something not possible by man alone.”Literature comparison: A larger Kangxi prototype and a Qianlong gourd vase of related form, are both illustrated in Wang Shixiang, The Charms of Chinese Gourd, Hong Kong, 1993, pls. 9 and 22 respectively.Auction result comparison: Type: Closely related Auction: Sotheby's London, 18 May 2018, lot 311 Price: GPB 7,500 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A molded gourd 'shou' snuff bottle, Qianlong mark and period Expert remark: Compare the closely related form and design. Note the near-identical size (8.8 cm excluding stopper) and that the mouth-rim of this bottle was fitted with later wood, probably to replace the original tortoiseshell platelet.乾隆款及年代葫蘆形壽字紋鼻煙壺中國，1736-1795年。方形切面，葫蘆形，圓柱短頸；上下四個側面都有壽字紋。口緣整齊，玳瑁蓋鈕。底部有“乾隆賞玩”四字款，非常模糊。 來源：美國聖路易士Chip 與Muffy Matthews收藏。Churchill "Chip" Matthews，Jr. (1940-2021年) 與 Martha "Muffy" Matthews 是來自美國的經驗豐富的中國鼻煙壺收藏家。Chip 是一名美國退伍軍人，他於 1989 年創立了著名的醫療公司 Wrymark Inc.。2013 年，他們的私人花園被聖路易士Homes和Lifestyles 雜志評為“年度花園”。 品相：狀況極好，大量磨損和一些製造瑕疵，包括部分模糊的乾隆款，以及一些微小的刻痕。 壺蓋：鎏金金屬 重量：11.6 克 尺寸：含蓋高94 毫米，頸部直徑17 毫米與頸部直徑5 毫米
AN IMPERIAL JADE-INLAID CINNABAR LACQUER WALL VASE INSCRIBED WITH A POEM BY HONGLI (1711-1799), QIANLONG PERIODThe poem inscribed on the jade plaque was composed by Hongli (1711-1799), better known as the Qianlong Emperor (reigned from 1736-1795). It is recorded in Qing Gaozong yuzhi shiwen quanji (Anthology of Imperial Qianlong Poems and Texts), volume 3, juan 58, page 19, figure 1, and can be translated as follows:Jade carved into flowers are fragrant like orchids,Between the garden steps, a few are elegantly planted.Who knows their essential beauty?Youdu, once asked this, answered with "Xie An".China, 1736-1795. Finely cast from gilt-bronze into baluster form flattened on one plane, mounted on the body with a shaped yellowish-celadon jade plaque inscribed in clerical script with a thirty-one-character Imperial poem, all surrounded by superbly carved blossoms of peony, chrysanthemum, and prunus borne on leafy branches against a diaper ground, framed by bands of prunus blossoms below the neck and above the foot, the neck flanked by two short tubular handles incised with scroll.Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.J.111. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou's years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou's drive to collect was a burning desire to preserve the relics of China's rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a 'must see' destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China's glorious history. Condition: Superb condition with expected minor wear, few minuscule nicks, the back with light surface scratches, the wood base with a small chip. Fine, naturally grown patina overall.Weight: 512.2 g Dimensions: Height 18.6 cmMounted on a short wood base, probably zitan and dating from the same period. (2)Hongli was the fourth son of Yongzheng and born to Noble Consort Xi. He was adored by his grandfather, the Kangxi Emperor, and some historians argue to this day that Kangxi appointed Yongzheng as his successor only because Hongli was his favorite grandson. One of China's eternal visionaries, Kangxi is said to have spotted the singular leadership talent of the later Emperor Qianlong in Hongli when he was still a child. In 1796, the Qianlong Emperor abdicated in favor of his son, the Jiaqing Emperor, in a filial act so as not to reign longer than his grandfather, the Kangxi Emperor, who ruled for 61 years. Despite his retirement, he retained ultimate power as the Emperor Emeritus until his death in 1799, making him one of the longest-reigning monarchs in history, and, dying at the age of 87, one of the longest-lived. As a capable and cultured ruler inheriting a thriving empire, during his long reign, the Qing Empire reached its most splendid and prosperous era, boasting a large population and economy.Wall vases were particularly popular during the reign of Qianlong and are known to have adorned the walls of the Sanxitang (The Hall of Three Rarities), a tiny studio next to the Imperial bedchamber in the Yangxindian. They were produced in a variety of materials, including porcelain, cloisonne enamel and lacquer, and occasionally inscribed with poems by the Emperor himself, such as the present lot. Compare several porcelain wall vases in the collection of the Palace Museum Beijing, illustrated in The Life of Emperor Qianlong, The Macau Museum of Art, Macau, 2002, cat. nos. 63-2 to 63-9. The present wall vase ranks among the most unusual and rarest examples produced during the Qianlong reign, as it combines gilt-bronze, cinnabar lacquer and carved jade.Expert's note: Carved cinnabar lacquer and gilt-bronze wall vases combined with jade inlays are very rare. The examples that come up for auction now and then almost invariably have condition issues such as strong wear to the gilding, losses and cracks to the lacquer, cracks or - worse - replacements to the jade inlays, and others. The pristine condition of the present wall vase makes it not just exceptionally rare, but literally unique. Literature comparison: Compare a pair of wall vases in the National Palace Museum, Taipei, included in the museum's exhibition The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, 2014, pl. II-48 (fig. 1), where the author notes that 'Lacquerware with jade inlay on a copper body is very rarely seen'.Also compare two boxes, one rectangular, the other chime-shaped, both inset with jade plaques, in the Palace Museum Beijing, illustrated in Carved Lacquer in the Collection of the Palace Museum, Beijing, 1964, cat. nos. 313 and 315. Compare a jade plaque inset in a cinnabar lacquer moon flask, similarly incised with a Qianlong seal mark and of the period, at Christie's Hong Kong, 27 April 1997, lot 21.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 25 April 2004, lot 19 Price: HKD 744,000 or approx. EUR 139,000 converted and adjusted for inflation at the time of writing Description: A very rare jade inlaid cinnabar lacquer wall vase, Qing dynasty, Qianlong periodExpert remark: Compare the closely related (and extremely rare) combination of carved lacquer and jade with an Imperial poem. Note the similar size (18 cm). Also note that the jade plaque on this example has several cracks, whereas on the present example it is in perfect condition.乾隆時期御製剔犀鑲玉刻御詩壁瓶中國，1736-1795年。鑲鎏金銅，剔犀掛瓶，頸部左右分別有一貫耳。瓶身錦地纏枝花卉紋，瓶身中央鑲嵌玉牌，上雕刻一首御詩。
A FAMILLE VERTE SQUARE BALUSTER 'IMMORTALS' VASE, QING DYNASTYChina, 19th century. Brightly enameled to each side in yellow, aubergine, green, and black. One side depicting two courtiers in a garden pointing at two celestial court ladies framed in clouds, another side with Duowen and another guardian standing below Tongzi, the third side depicting Magu, He Xiangu, a female attendant, and a crane, and the fourth side with two heavenly kings including Zengzhang who raises his sword. The neck decorated with a pavilion hidden behind clouds, mountains, and rockwork, and the shoulders with lotus blossoms to each corner.Provenance: From the private collection of Dr. Ma Luk, Hong Kong, thence by descent in the same family. From a private collection, Arizona, USA, acquired from the above. Dr. Ma Luk (1883-1963) graduated from the Hong Kong College of Medicine and became one of the leaders of the local medical community in Hong Kong. After spending a few years working for the Chinese Public Dispensary, he had the rare distinction of being the first Chinese doctor to join a European group practice in 1908, Drs. Fitzwilliams and Allan. He later started his own clinic in Central District and gradually expanded it into a large group practice, the Ma Luk Sun Hospital. Dr. Ma was also a director of the newly formed Yeung Wo Nursing Home in 1922. He served the Hong Kong Chinese Medical Association as vice president from 1933-1934 and was also active as the Chairman of the Chinese Club. He was admitted to the Order of St. John for his long service for the St. John Association and Brigade. Dr. Ma Luk was an important art collector and patron.Condition: Very good condition with only minor old wear and some firing irregularities including glaze flaking, minor fritting, little pitting. Even from the 19th century, this piece must be considered very rare in this splendid state of preservation.Weight: 4,454 g Dimensions: Height 49.4 cmThe base with an apocryphal, underglaze-blue, six-character mark da Qing Kangxi nianzhi.Auction result comparison:Type: RelatedAuction: Sotheby's New York, 14 September 2005, lot 688Price: USD 10,200 or approx. EUR 14,000 converted and adjusted for inflation at the time of writingDescription: A pair of famille verte square vases, 19th CenturyExpert remark: Compare the related form, size (50.8 cm), color of the enamels, and Kangxi reign mark. Note the lot comprises two vases.清代五彩仙人圖方瓶中國，十九世紀。綠地五彩琺瑯描繪祥雲中的神仙，有瑤池仙女、麻姑，有護法天王、二郎神以及哪吒等。頸部飾亭臺樓閣，肩部纏枝蓮紋。 來源：香港Ma Luk 醫生私人收藏，在同一家族保存至今；美國亞利桑那州私人收藏，購於上述收藏。Ma Luk (1883-1963) 醫生畢業於香港醫學院，成為香港本地醫學會領袖之一。在中國公立醫局工作了幾年後，他成為 1908 年第一位加入歐洲集體執業的中國醫生。後來，他在中環開設了自己的診所，並逐漸擴展為大型團體診所，即馬六新醫院。馬醫生亦於1922年出任新成立的楊和護養院院長。1933-1934年任香港中華醫學會副會長，亦積極擔任華人會主席。由於長期為聖約翰協會和旅服務，他被授予聖約翰勳章。Ma Luk醫生是一位重要的藝術收藏家和讚助人。 品相：狀況極好，只有輕微的磨損和一些燒製不規則現象，包括釉面剝落、輕微熔塊、小點蝕。 重量：4,454 克 尺寸：高49.4 厘米 底足内青花“大清康熙年製”寄托款。 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2005年9月14日，lot 688 價格：USD 10,200（相當於今日EUR 14,000） 描述：一對十九世紀五彩方瓶 專家評論：比較相近的外形、尺寸 (50.8 厘米)、琺瑯顏色和康熙款。請注意此為一對方瓶。
A PAIR OF BLUE AND WHITE 'LOTUS' MALLET VASES, KANGXI PERIODChina, 1662-1722. Rising from a splayed foot to a broad rounded shoulder and long slender neck, finely painted in cobalt blue with lotus blossoms borne on leafy scrolling vines framed by double line borders around the foot and rim. The recessed bases each with a double circle mark in underglaze blue. (2)Provenance: Austrian trade. Condition: Good condition with minor wear and firing irregularities including dark spots and pitting, one vase with a repaired crack to the upper rim.Weight: 551.2 g and 536.7 g Dimensions: Height 25.4 cm and 25.2 cmExpert's note: During the early Qing dynasty, up until the 1680s, conditions were unsettled in China and the making of Imperial wares as well as the use of reign marks on porcelain was restricted in various ways. During this period, different types of other marks came into use, including empty double circles. The usage of some of these marks continued well into the later Kangxi era and then started again in the 19th century, mostly on Kangxi revival pieces.Auction result comparison:Type: RelatedAuction: Sotheby's Melbourne, 22 November 2006, lot 369 Price: AUD 24,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writing Description: A large blue and white squat baluster vase, Kangxi period Expert remark: Compare the closely related dense scrolling lotus design. Note the larger size (43 cm) and that this listing is for a single vase only.康熙一對青花纏枝蓮紋長頸瓶中國，1662-1722年。長頸，豐肩，足外撇；青花描繪纏枝蓮紋，圈足内青花雙圈款。 (2) 來源：奧地利古玩交易。 品相：品相良好，有輕微磨損和燒製不規則現象，包括黑點和點蝕，一個花瓶邊緣有小修。 重量：分別為551.2 克與536.7 克 尺寸：分別高 25.4 厘米與25.2 厘米 專家注釋: 清朝初期至 1680 年代，中國局勢動盪不安，宮廷器物的製作和年號在瓷器上的使用受到各種形式的限制。在此期間，開始使用不同類型的其他標記，包括空心雙圓圈。其中一些款識的使用一直持續到康熙後期，然後在十九世紀再次開始。 拍賣結果比較： 形制：相近 拍賣：墨爾本蘇富比，2006年11月22日，lot 369 價格：AUD 24,000（相當於今日EUR 23,000） 描述：康熙青花纏枝蓮紋長頸瓶 專家評論：比較非常相近的纏枝蓮紋裝飾。請注意尺寸較大 (43厘米) ，以及此瓶為單瓶。
A PAIR OF 'QIANJIANG CAI' ENAMELED 'PEACOCK AND CRANE' VASES, BY MA QINGYUN, DATED 1920China. Each of bottle form with bulbous body surmounted by a cylindrical neck with straight rim, painted in bright enamels with a peacock and a pair of cranes perched on craggy rocks, with peonies and a gnarled pine tree. One side with a poetic inscription and signature. The bases with iron-red maker's marks. (2)Inscriptions: To one side, signed 'by Ma Qingyun in Changjiang', dated 'in the Summer of the Year of Gengshen' (corresponding to 1920), inscribed 'The most beautiful woman compares to a peony, the Emperor glanced at her with pleasure, the beauty just, like a gentle wind in spring, removed of all resentment, in Chenxiang pavilion the Emperor and his concubine lean against the fence', and 'the poem titled Qingbingdiao by Li Qinglian'. To the base, 'Ma Qingyun xie hua Yawan'.Provenance: From a noted Hungarian private collection. Condition: Very good condition, minor wear, light scratches, and manufacturing flaws including firing cracks, dark spots, and minuscule fritting. One vase with a hairline along the base.Weight: 3,762 g and 3,892 g Dimensions: Height 34.6 cm and 34.5 cmThe inscription on the present vases is an excerpt from the poem Qingbingdiao, written by Li Qinglian, also known as Li Bai (701-762), one of China's most famous poets from the Tang dynasty. The poem comprises three sections and illustrates the supposed love story between Emperor Xuanzong and his consort Yang Guifei, one of the Four Beauties of ancient China. According to some historical accounts, the Emperor and Yang Guifei would enjoy a nighttime celebration of peony viewing whenever the peonies were in full bloom. During one celebration, the Emperor was displeased with the selection of music and called for Li Bai to write a song. Li Bai, who was supposedly drunk during this time, rapidly composed this poem that pleased the Emperor.Ma Qingyun was a painter, poet, and literary artist who was active from the late Guangxu period into the Republic period.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 March 2012, lot 3464Price: USD 15,000 or approx. EUR 17,500 converted and adjusted for inflation at the time of writingDescription: A pair of polychrome enameled porcelain baluster vases, Republic periodExpert remark: Compare the related Qianjiang style, motif, poem, and seal mark. Note the different form and sizes (58 cm).馬慶雲款一對淺絳彩花鳥賞瓶，1920年中國，長頸瓶，溜肩鼓腹，圈足外撇。淺絳彩描繪孔雀和一對仙鶴站在松下假山上，牡丹盛開。另一面書寫李白詩。圈足鈴印“馬慶雲畫雅玩”。 款識：名花傾國兩相歡，常得君王帶笑看。解釋春風無限恨，沉香亭北倚闌干。庚申夏右？李青蓮 清平調 則于昌江客邸馬慶雲寫之意 。 來源：知名匈牙利私人收藏。 品相：狀況非常好，有輕微磨損、劃痕和製造缺陷如燒製裂紋、黑點和微小的熔塊。其中一個花瓶底部有冲線。 重量：分別為3,762克與3,892克 尺寸：高34.6 厘米與 34.5 厘米 馬慶雲是活躍於光緒末年至民國時期的畫家、詩人、文學家。拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2012年3月13日，lot 3464 價格：USD 15,000（相當於今日EUR 17,500） 描述：民國一對淺絳彩賞瓶 專家評論：比較相近淺絳彩、主題、詩和印。請注意不同的外形和尺寸(58 厘米)。
A RARE BRONZE ARROW VASE, TOUHU, SONG - YUAN DYNASTYChina, 13th-14th century. The bottle-shaped body rising from a flaring foot to a long neck tapering towards the galleried rim and flanked by two tubular handles, cast to the body with a band of single-horned dragons above a leiwen ground, the neck and handles with a wider and narrower band of leiwen, the body and neck divided by two ribs and stiff leaves, the foot with further stiff leaves.Provenance: From a private estate in Staffordshire, United Kingdom. Condition: Very good condition with minor wear, small nicks, light scratches, few dents, minor cracks, tiny losses, and casting flaws. Solid, naturally grown patina overall.Weight: 2,732 g Dimensions: Height 38.8 cmExpert's note: Large arrow vases from this early period are exceedingly rare, especially with a dragon design in such high relief. Further note the clever and elegant alignment of the two elongated narrow tubes with the neck of the vessel, which also serves as the main tube.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2014, lot 3384Price: HKD 325,000 or approx. EUR 47,000 converted and adjusted for inflation at the time of writingDescription: A Bronze Archaistic Arrow-Handled Vase Song / Yuan DynastyExpert remark: Compare the related cast and design. Note the much smaller size (24.6 cm).宋至元銅投壺中國，十三至十四世紀。長直頸、兩側貫耳，圓鼓腹。鼓腹上雷紋地單角龍紋，頸部和手柄有寬窄不一的雷紋帶，頸部和腹部弦紋帶，頸部和足部修飾蕉葉紋。 來源：英國斯坦福郡私人舊藏。 品相：狀況極好，有輕微磨損、小刻痕、輕微劃痕、少量凹痕、輕微裂紋、微小損失和鑄造缺陷。整體包漿緊實。 重量：2,732 克 尺寸：高 38.8 厘米 專家注釋：這一時期的投壺非常罕見，尤其是龍形浮雕如此之高。請注意兩個細長的頸部與貫耳的對稱。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2014年10月7日，lot 3384 價格：HKD 325,000（相當於今日EUR 47,000） 描述：宋 / 元銅饕餮紋貫耳壺 專家評論：比較相近的鑄造和設計。請注意尺寸較小(24.6 厘米)。
A BRONZE ARCHAISTIC ARROW VASE, TOUHU, SONG TO YUAN DYNASTYChina, late 12th to 13th century. Of slender pear shape with long neck, rising from a flaring foot to a straight cylindrical rim flanked by a pair of tubular handles, the handles and neck decorated with a band of leiwen, the design repeated at the foot. With a naturally grown, fine brownish-black patina overall.Provenance: Collection of Arnold Vissiere, Paris, France, thence by descent in the same family. Arnold Vissiere (1858-1930) was a French sinologist born in Paris and one of the creators of the French School of the Far East system. He worked as an interpreter at the French legation in Beijing and became a professor at the Ecole des Langues Orientales Vivantes in 1911. Later, Vissiere was appointed Consul General in Shanghai and then Minister Plenipotentiary in China. He also worked at the National Library on the catalog of Chinese books. Vissiere collected Chinese art including Chinese maps, some of which are exhibited in the Musee Guimet.Condition: Very good condition with minor wear, few nicks, small dents, light scratches, small cracks with associated minor losses, and casting flaws.Weight: 691.1 g Dimensions: Height 26.8 cmLiterature comparison:Compare a related bronze arrow vase, 21.6 cm, also dated Song to Yuan dynasty, late 12th to 13th century, in the Metropolitan Museum of Art, accession number 2021.294.Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 11 June 2021, lot 3192Price: HKD 75,000 or approx. EUR 9,100 converted and adjusted for inflation at the time of writingDescription: A bronze 'wave' two-handled tool arrow vase, Yuan dynastyExpert remark: Compare the related form and decoration. Note the much smaller size (17.9 cm).宋至元仿古銅投壺中國，十二世紀末至十三世紀。修長的梨形，長頸，圈足外撇，頸部雙貫耳。貫耳和頸部飾有雷紋紋飾帶，圈足處重複。整體細膩棕黑色包漿。 來源：法國巴黎 Arnold Vissiere，在同一家族保存至今。Arnold Vissiere (1858-1930) 是一位生於巴黎的法國漢學家，法國遠東學派體系的創始人之一。他曾在北京的法國大使館擔任翻譯，並於 1911 年成為 Ecole des Langues Vivantes 的教授。後來，Vissiere 被任命為駐上海總領事，隨後被任命為駐華全權公使。他還在國家圖書館從事中文圖書目錄工作。 Vissiere 收藏了包括中國地圖在內的很多中國藝術品，其中一些在吉美博物館展出。 品相：狀況極好，有輕微磨損、少量刻痕、小凹痕、輕微劃痕、小裂紋以及相關的輕微缺損和鑄造缺陷。 重量：691.1 克 尺寸：高26.8 厘米 文獻比較： 比較一件相近的宋至元十二至十三世紀投壺，21.6 厘米，收藏於大都會美術館，館藏編號 2021.294。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2021年6月11日，lot 3192 價格：HKD 75,000（相當於今日EUR 9,100） 描述：元銅海水紋投壺 專家評論：比較相近的外形和裝飾。請注意尺寸小很多(17.9 厘米)。
A RARE GILT COPPER ALLOY FIGURE OF A STANDING MAITREYA, NEPAL, 14TH CENTURYFinely cast standing on a circular lotus base with tiered beaded rims, his left hand raised in front of the chest and holding a lotus stem coming to full bloom at the shoulder topped by a kundika, his right pendent and similarly holding a lotus stem. Clad in a sheer dhoti incised with foliate designs and flaring at the sides, richly adorned with beaded and floral jewelry with inlays of turquoise, lapis lazuli, and coral.Provenance: Jacques How Asian Art, Brussels, Belgium. A noted German private collection, acquired from the above. The base with an old label from Jacques How Asian Art. Jacques How-Choong has been collecting and dealing in Chinese and Southeast Asian art for many years, specializing in particular in Himalayan art and ritual objects, rare early Buddhist art, focusing on Dali Kingdom sculpture, as well as archaic works of art. Several museums, institutions, dealers, and private collectors are among his clientele. He is a distinguished member of Asian Art in Brussels and also exhibits annually at Parcours des Mondes in Paris.Condition: Good condition with some wear, particularly to gilt, minuscule nicks, minor dents, light scratches. The inlays possibly replaced at different times over many centuries. The figure leaning. The base sealed. The back with a small inlaid bronze plaque of rectangular shape for ritual purpose.Weight: 244.3 gDimensions: Height 11.2 cmWith an old fitted wood stand, possibly zitan, cleverly serving to compensate the leaning posture of the figure. (2)His serene face with heavy-lidded almond-shaped eyes below raised arched brows centered by a rectangular urna, further with a broad nose and full lips forming a subtle smile, the hair piled in a tall chignon topped with a jewel behind the foliate tiara.The presence of the kundika vase crowning the resplendent lotus flower by his left shoulder identifies this idealized young prince as the future Buddha Maitreya. Although equally vital to popular Buddhist practice, standing Maitreya images are relatively rare by comparison to more common bronzes of Avalokiteshvara Padmapani. This most elegant form of a standing bodhisattva maintained its popularity in Nepal until at least the 16th century, being applied to various deities including Manjushri.Auction result comparison: Type: Related Auction: Christie's New York, 13 September 2016, lot 201 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A gilt bronze figure of a standing tara, Nepal, 14th century Expert remark: Compare the related pose, circular lotus base, and inlaid gemstones. Note the size (13.3 cm).十四世紀尼泊爾罕見彌勒佛鎏金銅像彌勒佛立於圓形蓮座上，邊緣有連珠紋，左手舉於胸前，手持一枝盛開於肩部的蓮花，上有一個淨瓶，右手垂下，同樣手持一朵蓮花。身穿飾有葉狀圖案並在兩側張開的法衣，鑲嵌有綠松石、青金石和珊瑚。面容平靜安詳，雙眼微垂，眉毛之間有白毫，闊鼻，嘴唇豐滿，頭髮盤成一個高高的髮髻，在葉狀頭飾後面鑲嵌著一顆寶石。來源：比利時布魯塞爾Jacques How Asian Art藝廊；知名德國私人收藏。購於上述藝廊。底部有 Jacques How Asian Art藝廊標籤。Jacques How-Choong多年來一直從事中國和東南亞藝術品的收藏和交易，尤其擅長喜馬拉雅藝術品和法器、稀有的早期佛教藝術品，專注於大理王國雕塑，以及古代藝術品。一些博物館、機構、經銷商和私人收藏。家都是他的客戶。他是布魯塞爾亞洲藝術協會的傑出成員，並且每年都會在巴黎的 Parcours des Mondes 舉辦展覽。 品相：狀況良好，有一些磨損，特別是鍍金方面，有微小的劃痕和輕微的凹痕。鑲嵌物可能在過去更換過。造像傾斜。 底座密封。背面鑲嵌一小塊長方形青銅牌，供祭祀之用。 重量：244.3 克 尺寸：高 11.2 厘米 相配木底座，或爲紫檀，巧妙地彌補了人物的傾斜姿勢。(2) 造像左肩上的蓮花淨瓶，表明他就是未來的彌勒佛。儘管對流行的佛教修行同樣重要，但與更常見的觀世音蓮花生青銅造像相比，站立的彌勒佛像相對較少。此類優雅立像造型至少在十六世紀之前在尼泊爾一直很受歡迎，被應用於包括文殊菩薩在內的各種菩薩。
A CIZHOU BLACK-GLAZED VASE, MEIPING, SONG DYNASTYChina, 960-1279. The elegant form supported on a short foot and surmounted by a short cylindrical neck with a flaring rim, covered to the exterior and interior with an even dark-brown, almost black glaze stopping irregularly above the foot, forming drops, and revealing the buff ware burnt orange in the firing.Provenance: From the private collection of a professor emeritus of archeology at the University of Minnesota, USA, who was also a consultant for several museums in the United States. An old inventory number, 'L.1757.2', lacquered to the foot, indicating a prior museum deaccession. Condition: Good condition with expected old wear, few small chips, a small repair to the rim, and manufacturing flaws including glaze recesses, pottery lines, and slight warping.Weight: 671.7 g Dimensions: Height 22.1 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 2 July 2021, lot 5087Price: HKD 151,200 or approx. EUR 19,000 converted and adjusted for inflation at the time of writingDescription: A Cizhou black-glazed meiping, Song dynastyExpert remark: Compare the related form and closely related glaze. Note the size (31 cm).宋代磁州窯黑釉梅瓶中國，960-1279年。梅瓶小口，短頸，豐肩，瘦底，圈足，外壁施黑釉，足部露胎成橘色。 來源：美國明尼蘇達大學一位考古學名譽教授的私人收藏，他也是美國多家博物館的顧問。足部一個收藏編號 “L.1757.2”，表明之前已從博物館出售過。 品相：品相良好，有磨損，小碎片、邊沿小修以及製造缺陷，包括釉面凹陷、陶紋和輕微翹曲。 重量：671.7 克 尺寸：高 22.1 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2021年7月2日，lot 5087 價格：HKD 151,200（相當於今日EUR 19,000） 描述：宋磁州窯黑釉梅瓶 專家評論：比較相近的外形和非常相近的釉面。請注意尺寸(31 厘米)。
A HENAN BOTTLE VASE, SONG OR JIN DYNASTYChina, 960-1234. The elegant pear-shaped body rising from a short tapering foot to a straight long neck with rolled rim, covered overall in a lustrous brown-black glaze except for the foot pad, the body freely painted with a few russet splashes.Provenance: Laurent Wannieck, Paris, France. The collection of Mr. L., Paris, acquired from the above, and thence by descent in the same family. A copy of the original invoice from Laurent Wannieck, Paris, on 6 February 1929, no. 33152, stating a purchase price of FRF 900, accompanies this lot. Condition: Very good condition with old wear, few small chips along the foot ring, and expected firing flaws including pitting and a thin firing crack to the foot.Weight: 1,228 g Dimensions: Height 27.3 cmLiterature comparison: Compare a related Henan russet splashed, iron-brown glazed vase, Jin dynasty, in the collection of the British Museum, museum number 1930,0719.11.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 25 November 2022, lot 420Price: HKD 88,200 or approx. EUR 11,000 converted at the time of writingDescription: A russet-splashed black-glazed bottle vase, Yuhuchunping, Northern Song to Jin dynastyExpert remark: Compare the related form and closely related black glaze and russet splashes. Note the related size (29.3 cm).宋或金河南長頸瓶中國，960-1234年。直口，細長頸，削肩，肩以下漸碩，腹下部豐滿。通體施黑釉，少量赤褐色斑紋。 來源：法國巴黎Laurent Wannieck收藏；巴黎Mr. L.購於上述收藏，保存在同一家族至今。隨附一份Laurent Wannieck 1929年2月6日出具的no. 33152發票複印件，顯示售價為FRF 900。 品相：狀況極好，有磨損，圈足上有輕微磕損，有燒製缺陷，包括點蝕和腳部的燒製裂紋。 重量：1,228 克 尺寸：高27.3 厘米 文獻比較： 比較一件相近的金代河南褐斑鐵棕釉瓶，收藏於大英博物館，館藏編號1930,0719.11。 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2022年11月25日，lot 420 價格：HKD 88,200（相當於今日EUR 11,000） 描述：北宋至金黑釉褐斑玉壺春瓶 專家評論：比較相近的外形和非常相近的黑釉和褐斑。請注意相近尺寸(29.3 厘米)。
A FAMILLE ROSE 'IMMORTALS' BALUSTER VASE, JUREN TANG MARK, REPUBLIC PERIODChina, 1912-1949. The slender ovoid body rising to a waisted neck. Superbly painted in bright enamels with five immortals in a garden, each holding auspicious objects including a peach, finger citron, lingzhi, and gourd, one carrying a gnarled pine staff and another a bamboo stick, each wearing long flowing robes decorated with roundels and diapered designs, framed by a gnarled pine and wisteria tree to one side, and craggy rockwork to the other side, with a crane flying above.Inscriptions: To the base in iron red, 'Juren Tang zhi' (The Hall where Benevolence Resides).Provenance: French trade. Condition: Good condition with minimal wear, a thin hairline to the mouth rim, and a barely visible star-crack below the shoulder.Weight: 3,959 g Dimensions: Height 24.9 cm The Juren Tang (The Hall where Benevolence Resides) in Zhongnanhai was the building in which Yuan Shikai (1859-1916) lived and also where he had his office around 1915. Yuan Shikai was the first President of the Republic of China and Emperor of the short-lived Empire of China (1915-1916), taking the era name Hongxian. In 1916, Guo Baochang, an antique dealer with a good relation to the court, was appointed to oversee Hongxian's new imperial porcelain production. The intent from the outset was that the items produced were to be of excellent quality. The biscuit used was very thin, the enamels were sent from the Imperial Workshops and the mark used was a red seal reading Juren Tang zhi. The quality of items produced was reputed to be excellent. Unfortunately, during production, because of the very thin biscuit, many objects were damaged. The remaining few perfect pieces were given to the most favored officials and are exceedingly rare today.Yuan Shikai stood down as Emperor on 22 March 1916 and resumed his presidency, dying shortly afterward in June 1916. After his death, production was halted and the kilns were destroyed, but the enamels were stolen by workers who then proceeded to copy the Juren Tang production, marking their pieces Hongxian nianzhi (also Hongxian Yu Chih or Hongxian Yuan Nian), mostly with Kaishu script. The first copies produced were apparently of extremely high quality, as they were still using the imperial biscuit and enamels, but quality fell as the quantity increased and, presumably, the imperial resources were depleted. One opinion has it that all Hongxian marked pieces are made after the actual period, and that the only possibly genuine mark of the Hongxian period is the Juren Tang if any. Still, from extant pieces it is clear that the porcelain industry was much stimulated at this time and for decades to come, and that pieces of very high quality were made, some of which bear the Hongxian mark while others are marked Juren Tang.Auction result comparison:Type: RelatedAuction: Christie's London, 13 May 2014, lot 402Price: GBP 37,500 or approx. EUR 61,000 converted and adjusted for inflation at the time of writingDescription: A famille rose 'immortals' vase, Republic period, four-character iron-red Juren Tang zhi markExpert remark: Compare the form, fine enamels, figural motif, and mark. Note the size (28.2 cm).Auction result comparison:Type: RelatedAuction: Christie's London, 9 November 2012, lot 1137Price: GBP 7,500 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A slender famille rose baluster vase, Republic period (1912-1949), Juren Tang zhi iron-red seal markExpert remark: Compare the related form, fine enamels, figural motif, and mark. Note the size (34.5 cm). 民國居仁堂款粉彩《五仙圖》賞瓶中國，1912-1949年。瓶口略外撇，頸微束，豐肩，修長瓶身。粉彩描繪山中五仙圖，壽老持桃、祿星持佛手、靈芝、白鬍仙人手持掛著葫蘆的松杖；身著飄逸長袍，周圍可見松樹和紫藤，另一側是崎嶇的岩石，空中仙鶴飛舞。 款識：圈足内“居仁堂製” 來源：法國古玩交易。 品相：品相良好，極少磨損，口緣處有細冲線，肩部下方輕微星形裂紋。重量：3,959 克 尺寸：高24.9 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2014年5月13日，lot 402 價格：GBP 37,500（相當於今日EUR 61,000） 描述：民國居仁堂款粉彩仙人圖瓶 專家評論：比較的外形、精美的琺瑯、人物主題和款識。請注意尺寸(28.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2012年11月9日，lot 1137 價格：GBP 7,500 EUR 13,000（相當於今日） 描述：民國居仁堂款粉彩高士詩文圖瓶 專家評論：比較相近的外形、精美的琺瑯、人物主題和款識。請注意尺寸(34.5 厘米)。
A MASSIVE LOBED 'ELEPHANT' BRONZE VASE, CHINA, 17TH CENTURYElegantly cast with a slender waist, a band of ruyi-shaped clouds at the shoulder and above the foot, flanked by a pair of elephant-head handles, and an integral hexagonal stand supported on ruyi-shaped feet. The base cast with a seal mark.Inscriptions: To the base, 'Yongcunzhai'. Provenance: From a private collection in Westphalia, Germany, acquired before 2007, and thence by descent. Condition: Minor old wear, few small nicks, light scratches, one foot lost, and some casting flaws as expected.Weight: 2,998 g Dimensions: Height 33 cmAuction result comparison:Type: Closely relatedAuction: Sotheby's New York, 21 March 2015, lot 764Price: USD 40,000 or approx. EUR 45,500 converted and adjusted for inflation at the time of writingDescription: A bronze lobed 'elephant' vase, 17th centuryExpert remark: Compare the closely related form and decoration. Note the much smaller size (17.3 cm).十七世紀瓜棱形象首耳銅瓶造型優雅，腰身纖細，肩部及足部飾如意雲紋，兩側各飾象首耳一對，六如意形足，底座内留款。 款識：永存齋 來源：德國威斯特法倫私人收藏，購於2007年前，保存至今。 品相：輕微磨損，一些小刻痕、輕微劃痕，一隻腳丟失，以及一些鑄造瑕疵。 重量：2,998 克 尺寸：高33 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2015年3月21日，lot 764 價格：USD 40,000（相當於今日EUR 45,500） 描述：十七世紀銅如意紋象首耳海棠形瓶 專家評論：比較非常相近的外形和裝飾。請注意尺寸小很多(17.3 厘米)。
A LARGE AND MOLDED FAMILLE ROSE 'HUNDRED ANTIQUES' BALUSTER VASE, QING DYNASTYChina, 19th century. The body molded and applied with various auspicious items and scholar's objects in high relief, including archaistic bronze vessels, butterflies, bats, and gourds, interspersed with floral sprays, the waisted neck flanked by two lingzhi handles, the neck and foot decorated with a diaper pattern and geometric bands, the interior of the mouth with three branches bearing peaches.Provenance: French trade. By repute acquired from a private estate in the region of Lille, France. Condition: Presenting remarkably well with some natural wear and expected firing irregularities, minor fritting and minuscule chips, small hairlines to the base, the rim with an old repair. The wood base with expected natural age cracks and small nicks.Weight: 7.1 kg (incl. base) Dimensions: Height 60.2 cm (excl. base), 66.5 cm (incl. base)With a fitted wood base. (2)Literature comparison:Compare a related yellow ground 'hundred antiques' vase, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, vol. 39, Hong Kong, 1999, p. 285, no. 254.Auction result comparison:Type: RelatedAuction: Christie's London, 9 September 2015, lot 518Price: GBP 13,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A pair of Chinese famille rose 'hundred antiques' vases, 19th centuryExpert remark: Compare the related design and size (61 cm). Note that this lot comprises two vases but lacks the molded relief work completely.清代大型粉彩博古紋堆塑雙耳瓶中國，十九世紀。此瓶敞口，直頸，溜肩，直筒腹，脛部內收，圈足外撇。器身白地粉彩堆塑博古紋，疏朗排列，瓷瓶、擺件、盆景等，繪筆細緻，古雅氣質。此瓶胎質潔白細膩，形制端雅，繁複堆塑，風格別致。 來源：法國古玩交易，據說來自法國里爾地區私人收藏。 品相：品相極好，有一些自然磨損和預期的製作不規則、輕微磨損和微小的磕損、底部有細小的裂線，邊緣有修復。木底座有自然老化裂縫和小刻痕。 重量：7.1 公斤 （含底座) 尺寸：高 60.2 厘米 (不含底座)，66.5 厘米 (含底座) 木底座。 (2) 文獻比較： 比較一件相似的黃地凸雕博古圖龍耳大地瓶，見《故宮博物院藏文物珍品全集‧琺瑯彩粉彩》，卷39，香港，1999年，285頁，編號254。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年9月9日，lot 518 價格：GBP 13,750（相當於今日EUR 20,500） 描述：十九世紀一對粉彩博古紋瓶 專家評論：比較相近的設計和尺寸 (61 厘米)。請注意此拍品為一對，但並沒有浮雕堆塑。
A LARGE FAMILLE NOIR ROULEAU VASE, 19TH CENTURYChina. The cylindrical body rising to a tall neck with galleried rim, brightly and finely painted in famille noire enamels with gilt and iron-red, decorated at the shoulder with large ruyi lappets enclosing scrolling chrysanthemums on a yellow ground. The body with six panels depicting chrysanthemums, peonies, prunus, and other auspicious flowers with butterflies and birds flying above, a tall band of green ruyi heads separating Buddhist emblems above the foot. The neck with the 'hundred treasures' design depicting various precious vessels and scholar's items scattered above black ground, the galleried rim with geometric patterns to the exterior and sprays of pomegranate, Buddha's hand citron, and peaches to the interior.Provenance: From a noted Hungarian private collection. Condition: Very good condition with minor wear, fading to colors, few shallow chips to foot, and manufacturing flaws, including firing cracks, firing flaws, glaze recesses partially burnt to orange in the firing, dark spots, and flaking to the enamels.The body with a faint hairline.Weight: 7.3 kg Dimensions: Height 61 cmAuction result comparison:Type: RelatedAuction: Christie's London, 27 February 2013, lot 272Price: GBP 4,750 or approx. EUR 7,900 converted and adjusted for inflation at the time of writingDescription: A Chinese famille noire baluster vase and cover, 19th centuryExpert remark: Compare the closely related decoration and size (63 cm). Note the form.十九世紀大型墨地棒槌瓶中國。盤口，短直頸，圓折肩，圓筒狀長腹，圈足。外壁繁密有序，紋飾精美，墨色為地尤顯典雅高貴。盤口修飾粉色蓮瓣紋，頸部博古紋，肩部裝飾有大如意開光黃地纏枝菊紋。瓶身開光六幅菊花、牡丹、梅花等吉祥花卉，上面有蝴蝶和鳥兒飛翔，腰下修飾高高的綠色如意紋。 來源：知名匈牙利私人收藏。 品相：狀態良好，有輕微磨損、褪色、足部有少量淺缺口和製造缺陷，如燒製裂紋、燒製缺陷、橙色的釉面凹槽、黑點和琺瑯剝落。瓶身有一條衝線。 重量：7.3 公斤 尺寸：高61 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2013年2月27日，lot 272 價格：GBP 4,750（相當於今日EUR 7,900） 描述：十九世紀粉彩將軍罐和蓋 專家評論：比較非常相近的裝飾和尺寸(63 厘米)。請注意外形。
A LARGE BLUE AND WHITE 'FLORAL' JAR, JOSEON DYNASTYKorea, 18th century. The ovoid body supported on a short foot and rising to a cylindrical neck with a galleried rim, freely painted in sensitively graduated shades of cobalt blue to the upper body with leafy chrysanthemum sprays and to the neck with foliate designs.Provenance: French trade. Condition: Very good condition with expected old wear, traces of use and firing irregularities, the dark glazed circular section above the foot inherent to manufacture. The base with a small old fill and scattered remnants of plaster. A minor hairline to the neck, the interior with further hairlines not visible to the exterior. Overall displaying very well.Dimensions: Height 51.5 cm, Width 52 cm (at the widest points)Literature comparison: Compare a related blue and white vase, similarly painted with birds, plum blossoms, and rocks, 38.1 cm high, dated to the 18th century, in the Johnson Museum of Art, Cornell University, accession number 67.172. Compare a related jar of similar form, decorated in underglaze-blue and iron-brown, 39.7 cm high, dated c. 1700, in the Ashmolean Museum Oxford, accession number EA1974.16. 朝鮮王朝大型青白花卉紋罐韓國，十八世紀。唇沿，短直頸，豐肩，小圈足。青花描繪纏枝菊花紋。 來源：法國古玩交易。 品相：狀況極好，有磨損、使用痕跡和燒製不規則，足部上方有深色釉面圓形部分。底部有一個小的填充物和散落的石膏殘留物。頸部有一條細細的裂紋，罐內有更多的裂紋，外部看不到。 尺寸：高 51.5 厘米，寬 52 厘米 (最寬處) 文獻比較： 比較一件相近的十八世紀青花梅花鳥紋罐，收藏於Johnson Museum of Art，Cornell University，館藏編號67.172。比較一件相近外形的約1700年藍鐵棕色罐，39.7 厘米高，收藏於Ashmolean Museum Oxford，館藏編號EA1974.16。
A VERY FINE FAMILLE ROSE 'BIRDS AND FLOWERS' PEAR-SHAPED VASE, YUHUCHUNPING, REPUBLIC PERIODChina, 1912-1949. Vividly decorated in bright enamels with swallows perched on entwined gnarled branches bearing leaves, buds, and blossoming peonies above leafy sprays of aster, one swallow in flight. Note the remarkable attention to detail overall, and the unusually high quality of the enameling.Provenance: Dutch trade. Condition: Excellent condition with minor wear and firing irregularities.Weight: 2,200 g Dimensions: Height 35.5 cmAuction result comparison: Type: Related Auction: Christie's London, 13 November 2015, lot 1310 Price: GBP 20,000 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A finely enameled famille rose 'peony and butterfly' vase, Republic periodExpert remark: Note the smaller size (27.6 cm) and apocryphal Qianlong reign mark Auction result comparison: Type: Related Auction: Christie's New York, 15 September 2011, lot 1641 Price: USD 23,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A famille rose bottle vase, 20th centuryExpert remark: Note the smaller size (22.3 cm) and Jurentang zhi hall markAuction result comparison: Type: Related Auction: Christie's London, 11 November 2016, lot 746 Price: GBP 12,500 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A large famille rose 'peony' vase, 20th centuryExpert remark: Note the slightly larger size (39.5 cm) and apocryphal Qianlong reign mark民國粉彩花開富貴玉壺春瓶中國，1912-1949年。撇口，束頸，圓腹，圈足，釉質細膩白皙。明亮的琺瑯生動地描繪盛開的牡丹，一隻燕子棲息在樹枝上，空中飛著一隻燕子。 來源：荷蘭古玩交易。 品相：狀況極佳，有輕微磨損和燒製缺陷。 重量：2,200 克 尺寸：高 35.5 厘米 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2015年11月13日，lot 1310 價格：GBP 20,000（相當於今日EUR 28,500） 描述：民國時期粉彩桃與蝴蝶瓶 專家評論：請注意尺寸較小(27.6 厘米)和偽乾隆款。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年9月15日，lot 1641 價格：USD 23,750（相當於今日EUR 28,500） 描述：二十世紀粉彩花卉靈芝紋瓶 專家評論：請注意尺寸較小(22.3 厘米)和不同款識。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2016年11月11日，lot 746 價格：GBP 12,500（相當於今日EUR 18,000） 描述：二十世紀粉彩牡丹紋瓶 專家評論：請注意尺寸稍大(39.5 厘米)和偽乾隆款。
A VERY FINE FAMILLE ROSE 'BOYS AT PLAY' VASE, MEIPING, REPUBLIC PERIODChina, 1912-1949. Of ovoid form tapering towards the foot, surmounted by a short waisted neck, finely painted in gilt, iron-red, and bright enamels, with boys playing music and performing with masks in a garden scene, further depicting rockwork with lingzhi, a prunus tree, and violet chrysanthemums, the foot with a gilt rim.Provenance: From a private collection in San Francisco, United States, acquired in the 1990s. Dr. Neill Kendall, acquired from the above. Christie's South Kensington, 14 May 2010, lot 415, sold for GBP 8,750 or approx. EUR 15,000 (converted and adjusted for inflation at the time of writing). A private collection, United Kingdom, acquired from the above. Dr. Neil Kendall's interest in Chinese porcelain was sparked while studying in Hong Kong as a medical student. He started his collection in the 1990s with the help of Peter Wain, a noted Asian art dealer. Kendall's collection specialized in the finest Republic period pieces from master potters and porcelain painters, but also included Yixing ware. Condition: Only minor wear to the enamels. A long hairline to body and shoulder, stabilized.Weight: 427.5 g Dimensions: Height 20.3 cmThe recessed base with an apocryphal blue-enameled four-character mark Yongzheng nianzhi. Auction result comparison:Type: RelatedAuction: Christie's Hong Kong, 1 June 2011, lot 4027Price: HKD 112,500 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A fine famille rose 'boys' vase, Hongxian iron-red mark within double-squares, Republic periodExpert remark: Compare the related form, fine painting, motif, and enamels. Note the size (24.8 cm).民國粉彩《嬰戲圖》瓶中國，1912-1949年。瓶口微撇，短頸，圓肩，肩以下漸收，圈足。粉彩描金，描繪園中童戲，一群兒童在敲鑼打鼓，另一個童子頭戴面具，正蹲在樹下，手中拿著一根長棍，上面挂著紅蝙蝠。場景生動活潑，稚趣可愛。 來源：美國舊金山私人收藏，購於上世紀九十年代；Dr. Neill Kendall購於上述收藏；南肯辛頓佳士得，2010年5月14日，售價 GBP 8,750或 EUR 15,000 (根據通貨膨脹率)；英國私人收藏，購於上述拍賣。Dr. Neil Kendall對中國陶瓷的興趣是在香港讀醫科的時候產生的。他於 1990 年代在著名亞洲藝術品經銷商Peter Wain 的幫助下開始收藏。Kendall的藏品專注於民國時期陶瓷，但也包括宜興瓷器。品相：琺瑯只有輕微磨損，瓶身和肩部有細長裂紋。 重量：427.5 克 尺寸：高 20.3 厘米 圈足内青花“雍正年製”四字款。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2011年6月1日，lot 4027 價格：HKD 112,500（相當於今日EUR 18,500） 描述：民國粉彩庭院嬰戲圖瓶，礬紅雙方框四字楷書款 專家評論：比較相近的外形、精美的繪畫、主題和琺瑯。請注意尺寸(24.8 厘米)。
A JADEITE 'CHILONG AND LINGZHI' QUATRELOBED VASE, GU, QING DYNASTYChina, 19th century. Of archaistic form, carved from a single piece of jade, rising from a splayed foot to a flaring neck. The neck flanked by a pair of pierced lingzhi handles suspending loose rings, the longer sides carved in relief with clambering chilong and neatly incised with swirling clouds. The translucent stone of a light green tone with apple green splashes, pale lavender areas, and icy white inclusions.Provenance: New York trade. An old label 'A 27' to the stand. Condition: Very good condition with expected old wear, few minuscule nibbles to the rims, the stone with natural inclusions and fissures, some of which have developed into hairlines over the years. The stand with few minor age cracks, minuscule nicks, and remnants of adhesive.Weight: 535.5 g (excl. stand) and 567.4 g (incl. stand) Dimensions: Height 14.3 cm (excl. stand) and 17 cm (incl. stand)The fitted hardwood stand carved in openwork and reticulated with peaches. Possibly huali. (2)Auction result comparison:Type: Closely relatedAuction: Christie's New York, 19 September 2015, lot 896Price: USD 10,625 or approx. EUR 13,000 converted and adjusted for inflation at the time of writingDescription: A small archaistic jadeite vaseExpert remark: Compare the closely related quatrelobed form, handles suspending loose rings, and chilong decoration. Note the smaller size (7.9 cm).清代翡翠螭龍啣芝輔首活環方觚中國，十九世紀。仿古方觚造型，由整塊翡翠雕刻而成，三段式觚形、圓鼓腹。頸部兩側是分別有一個獸首啣環，器身頸部和腹部分別高浮雕一隻攀爬的啣芝螭龍，淺浮雕祥雲紋。淺綠色調的半透明翡翠，帶有蘋果綠色斑、飄紫，冰白色內沁。 來源：紐約古玩交易，底部有老標籤 'A 27'。 品相：狀況非常好，舊時磨損，邊緣輕微細小磕損，石料有天然內沁和裂紋，其中一些多年來已經發展成細紋。底座輕微老化裂縫、微小的劃痕和黏合劑殘留物。 重量：535.5克 (不含底座) 與 567.4 克 (含底座) 尺寸：高 14.3 厘米 (不含底座) 與17 厘米 (含底座) 硬木鏤空仙桃紋底座，可能爲花梨木。 (2) 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2015年9月19日，lot 896 價格：USD 10,625（相當於今日EUR 13,000） 描述：翠玉雕螭龍紋花觚 專家評論：比較非常相近方觚外型、獸首啣環和螭龍裝飾。請注意尺寸較小 (7.9厘米)。
A CARNELIAN AGATE 'PEACH AND LINGZHI' RETICULATED DOUBLE VASE, 18TH CENTURYChina. The vessel with two receptacles carved as gnarled tree trunks, further cast in relief and openwork with a leafy branch bearing peaches and a bat perched on the trunk as well as lingzhi sprigs, the striking contrast between the white agate and bright-red carnelian inclusions ingeniously used to great effect. Provenance: Scottish trade, United Kingdom. Condition: Excellent condition with minor old wear. Natural inclusions and fissures to the stone. Fine manually applied polish overall, with an elegant lustrous shine, as expected from an authentic 18th-century carving from this distinct group.Weight: 515.1 g (excl. base) and 564.7 g (incl. base)Dimensions: Length 12 cm, Height 9.1 cm (excl. base) and 10.6 cm (incl. base)With a matching and finely carved openwork hardwood base in the form of rockwork with flowers, grass, and lingzhi. (2)Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 30 November 2017, lot 362Price: 225,000 HKD or approx. EUR 29,000 converted and adjusted for inflation at the time of writingDescription: A large carnelian agate 'sanduo' vase, Qing dynasty, 18th centuryExpert remark: Compare the closely related form with two receptacles and fine openwork carving as well as the related motif with tree trunk and peach. Note the larger size (21.3 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams London, 13 May 2021, lot 46Price: GBP 45,250 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A large carnelian agate 'sanduo' vase, 19th centuryExpert remark: Compare the closely related form, also with two receptacles and fine openwork carving as well as the similar motif with tree trunk and peach. Note the larger size (19 cm) and the green stained bone and wood stand.十八世紀南紅瑪瑙靈芝祝壽紋理花插中國。花插選用整塊南紅瑪瑙雕製成樹樁狀，外壁紅色處採高浮雕及鏤雕技法琢壽桃、靈芝，枝葉錯落有致，枝幹虯曲，果實豐碩，整體構思巧妙。瑪瑙質地細膩油潤，紅白二色分明。局部挖空以供插花。 來源：英國蘇格蘭古玩交易。 品相：狀況極佳，有輕微磨損。瑪瑙有天然夾雜物和裂縫。整體手工拋光細膩，散發出優雅的光澤。 重量：515.1 克 (不含底座)，564.7 克 (含底座) 尺寸：長 12 厘米，高 9.1 厘米 (不含底座) ，10.6 厘米 (含底座) 配置鏤空雕刻的花、草、靈芝紋硬木底座。 (2) 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2017年11月30日，lot 362 價格：225,000 HKD（相當於今日EUR 29,000） 描述：清十八世紀南紅瑪瑙巧雕福壽三多花插 專家評論：比較非常相近外型和鏤空雕刻，以及相近的主題，有三個樹樁和桃子。請注意尺寸 (21.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯， 2021年5月13日，lot 46 價格：GBP 45,250（相當於今日EUR 54,000 ） 描述：十九世紀南紅瑪瑙「三多」花插 專家評論：比較非常相近外型，精美的鏤空雕刻，以及相近的主題，有三個樹樁和桃子。請注意尺寸較大 (19 厘米) 和綠色骨質與木底座。
A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYChina, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonne, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece's impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmReferring to the importance of reverence to the past in Chinese art, Ulrich Hausmann writes:“Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable, so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. Generations of painters and calligraphers [...] spent a lifetime studying these inscriptions. What could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.” (Quote from Ulrich Hausmann, Later Chinese Bronzes: In Search of Later Bronzes in Documentary Chinese Works of Art: In Scholars' Taste, Ed. Paul Moss, Sydney L. Moss, London, 1983, page 233, requoted again by Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and the Fung Ping Shan Museum, University of Hong Kong, 1986, cat. no. 161.)Expert's note: The present steamer is quite likely to date from the Song dynasty, because the earliest archaistic bronzes generally tend to be the closest in form and design to their archaic prototypes. This is clearly the case here, as shown by the two literature comparisons below, which prove that the present lot is very much in the spirit of its Shang and Western Zhou paragons. The example from the National Palace Museum, Taipei, even has gold and silver inlays just like our vessel, which is unusual for such an early piece. Another important aspect is the superb, naturally grown patina on the present lot with its distinct malachite encrustations. This is beyond doubt not a patina from the late Ming or early Qing dynasty: It not only does closely resemble that of ancient bronzes, but with its unique appearance, reminiscent of savage elementary forces rather than the genteel creations of later periods, essentially makes this bronze an archaic vessel of its own merit.Literature comparison: Compare a closely related prototype for this steamer, also with gold and silver inlays, dated to the Shang dynasty, in the National Palace Museum, Taipei, image number K1A002369N000000000PAB. A related prototype, lacking gold and silver inlays, dated to the Western Zhou dynasty, 11th-10th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b, is illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Vol. IIB, Massachusetts, 1990, pp. 342-344, no. 33.Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby's New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby's London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).宋至明代銅錯金銀三足銅甗中國，960-1644年。 來源：Dr. David McCay收藏，在同一家族保存至今。品相：狀況極好，有磨損和使用痕跡、一些鑄造不規則、小刻痕和缺損、輕微劃痕、腳底面有微小的填充物。錯金部分整體狀況非常好。錯銀部分變暗並顯示出光澤。
AN AMBER-GLAZED POTTERY VASE AND COVER, HU, HAN DYNASTYChina, 202 BC to 220 AD. The compressed globular sides rising from a short, splayed foot to a waisted neck and everted rim surmounted by a domed cover. The shoulder and body each with a narrow band carved with wave designs enclosed by recessed line borders. Covered overall in an even and finely crackled, golden amber glaze, the interior of the cover with a greenish tint. (2)Provenance: The base with an old label, 'Han Dynasty. Amber glaze. Covered jar. 25-220 AD.' From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Good condition, commensurate with age. The foot chipped with an associated old fill, minor old repairs and touchups as generally expected from Han dynasty excavations. Wear, firing flaws, intentional glaze crackling, glaze abrasions, kiln grit, small losses, encrustations.Weight: 1,396 gDimensions: Height 25.8 cmLiterature comparison: Compare a related amber-glazed hu, decorated with taotie masks suspending mock ring handles and lacking the cover, 40.6 cm high, dated to the Eastern Han dynasty, in the Metropolitan Museum of Art, accession number 1994.605.123. Compare a related amber-glazed hu, decorated with taotie masks and lacking the cover, 34.5 cm high, dated 2nd century BC to 1st century AD, in the Ashmolean Museum, Oxford, accession number EA1956.909.Auction result comparison: Type: Related Auction: Sotheby's London, 18 May 2018, lot 284A Estimate: GBP 4,000 or approx. EUR 5,500 converted and adjusted for inflation at the time of writingDescription: A large amber-glazed pottery vase, hu, Han dynasty Expert remark: Compare the closely related form and amber glaze. Note the lacking cover and the larger size (47.5 cm).漢代褐釉弦紋壺中國，公元前202 年至公元220 年。口外撇，束頸，鼓腹，足外撇。有一個圓頂蓋。肩部和身體各有一條弦紋，上面刻有由凹線邊框包圍的波浪圖案。通體施褐色釉，釉色均勻，裂紋細密，蓋內泛綠。 來源：底部有標籤 'Han Dynasty. Amber glaze. Covered jar. 25-220 AD.'。Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：品相好，足部有小填充、小修補。有磨損、燒製缺陷、釉面裂痕、開片、窯砂、小損失、結殼。 重量：1,396 克 尺寸：高 25.8 厘米 文獻比較： 比較一件相近的東漢褐釉弦紋壺，飾有饕餮輔首啣環，沒有蓋子，40.6 厘米高，收藏於大都會藝術博物館，館藏編號1994.605.123。比較一件相近的公元前二至一世紀釉弦紋壺，飾有饕餮輔首啣環，沒有蓋子，34.5 厘米高，收藏於牛津Ashmolean Museum，館藏編號EA1956.909。 拍賣結果比較： 形制：相近 拍賣：倫敦蘇富比，2018年5月18日，lot 284A 估價：GBP 4,000（相當於今日EUR 5,500） 描述：漢褐釉弦紋壺 專家評論：比較非常相近的外形和褐釉。請注意沒有蓋子和尺寸較大(47.5 厘米)。
A PAIR OF VERY FINE MILLEFLEUR DOUBLE GOURD VASES, REPUBLIC PERIODChina, 1912-1949. Of double gourd form, superbly enameled in shades of pink, green, blue, yellow, and white, with iron-red, depicting a myriad of flowers including lotus, peonies, prunus, and chrysanthemums. The upper rim and foot lined in gilt, with a turquoise ground to the interior of the neck and recessed base. (2)Provenance: French trade. Condition: Very good condition with minor wear and firing irregularities, little rubbing to the gilt.Weight: 745 g and 823 g Dimensions: Height 20.7 cm and 20.8 cmThe bases with an apocryphal, iron-red, six-character mark da Qing Qianlong nianzhi.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 14 December 2021, lot 91Price: USD 6,000 or approx. EUR 6,000 converted and adjusted for inflation at the time of writingDescription: A famille rose mille fleurs double-gourd vase, China, Republic periodExpert remark: Compare the related form, bright enamels, and motif. Note the Daoguang mark, the larger size (31.8 cm) and that this result is for a single vase only.Auction result comparison:Type: RelatedAuction: Bonhams San Francisco, 13 October 2015, lot 3414Price: USD 20,000 or approx. EUR 23,000 converted and adjusted for inflation at the time of writingDescription: A pair of millefleur vases, Qianlong marksExpert remark: Compare the motif. Note the form, handles, and larger size (37 cm).民國一對百花不落地葫蘆瓶中國，1912-1949年。巧取葫蘆為形，通體點綴各式花卉，其設計獨具匠心，畫面雖繁密卻不亂，花葉分佈各有主次，婉轉舒展。其筆意精美絕倫，琺瑯明亮。底施松石綠釉，中心書紅彩寄托款“大清乾隆年製”，足際處塗抹金彩一周。 來源：英國古玩交易。 品相：狀況極好，輕微磨損和燒製不規則，描金輕微磨損。 重量：分別爲745克與823 克 尺寸：分別高20.7 厘米與20.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2021年12月14日，lot 91 價格：USD 6,000（相當於今日EUR 6,000） 描述：中國民國粉彩萬花錦紋葫蘆式瓶 專家評論：比較相近的外型、琺瑯明亮和主題。請注意道光款、尺寸較大(31.8 厘米) ，以及此僅有一瓶。 拍賣結果比較： 形制：相近 拍賣：舊金山邦瀚斯，2015年10月13日，lot 3414 價格：USD 20,000（相當於今日EUR 23,000） 描述：一對乾隆百花不落地瓶 專家評論：比較主題。請注意的外形、雙耳和尺寸較大(37 厘米)。
A CLOISONNE ENAMEL MALLET VASE, QIANLONG FIVE-CHARACTER MARK AND OF THE PERIODChina, 1736-1795. The cylindrical body rising from a spreading foot to a tall neck with gilt rim, decorated around the exterior with lotus blooms borne on meandering leafy scrolls between ruyi bands, the foot encircled with C-scrolls and circles, all reserved on a distinct turquoise ground. The base incised with a five-character mark Qianlong nianzhi zuo and of the period.Provenance: British trade. Condition: Good condition with expected old wear, minor crackling and small fills typical for these wares. Minuscule nicks, some dents with associated small losses, the vase slightly leaning.Weight: 226 g Dimensions: Height 14.4 cmBased on its size and mallet shape, this vase was made to hold incense instruments. These types of small cloisonne vases, censers, and instruments (luping sanshi) which were made for the burning of incense had an additional character below the reign mark and were made for the Qianlong court. Some scholars have suggested that the fifth character under the Qianlong mark could have been a way to number the large group of objects in the correct order, see H. Brinker and A. Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, pp. 74-79.Literature comparison:Compare a similar cloisonne enamel vase with Qianlong five-character mark and of the period, from the Robert H. Clague Collection, Phoenix Art Museum, illustrated in Beatrice Quette, Cloisonne: Chinese Enamels from the Yuan, Ming and Qing Dynasties, New York, 2011, p. 291, pl. 130.Auction result comparison:Type: Near identicalAuction: Christie's New York, 18 September 2014, lot 613Price: USD 37,500 or approx. EUR 44,500 converted and adjusted for inflation at the time of writingDescription: A small cloisonne enamel bottle vase, Qianlong four-character mark inscribed in a line and of the periodExpert remark: Compare the near identical bottle or mallet form, motif, five-character mark, and size (14.5 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2017, lot 180Price: GBP 22,500 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A cloisonne enamel bottle vase, Qianlong five-character mark and of the periodExpert remark: Compare the closely related mallet or bottle form, motif, and five-character mark. Note the slightly larger size (17 cm).Auction result comparison:Type: Closely relatedAuction: Bonhams London, 17 May 2012, lot 139Price: GBP 20,000 or approx. EUR 32,500 converted and adjusted for inflation at the time of writingDescription: A cloisonne enamel and gilt-bronze long-necked cylindrical vase, incised Qianlong five-character mark and of the periodExpert remark: Compare the closely related form, motif, and five-character mark.乾隆五字款及年代銅胎掐絲琺瑯纏枝蓮紋賞瓶中國，1736-1795年。長頸，直腹，底足微束，足微外撇。外壁掐絲琺瑯描繪纏枝蓮紋，瓶口下裝飾一圈如意紋。底足内刻“乾隆年製”與“左”字款。 來源：英國古玩交易。 品相：品相良好，有磨損、輕微裂紋和小填充物。微小的刻痕，一些凹痕、缺損，賞瓶略微傾斜。 重量：226 克 尺寸：高 14.4 厘米 根據它的大小和形狀，這個瓶子應是用來盛放香薰器具的。這些供燒香用的小景泰藍瓶、香爐和器具在年號下方加了一個字，是為乾隆宮廷製作的。 一些學者認為，乾隆標記下的第五個字符可能是一種以正確順序對大群物品進行編號的方式，見 H. Brinker和A. Lutz，《Chinese Cloisonne: The Pierre Uldry Collection》，紐約，1989年，頁74-79。 文獻比較： 比較一件相似的銅胎掐絲琺瑯乾隆五字款和年代賞瓶，來自Robert H. Clague 收藏，收藏於Phoenix Art Museum，見Beatrice Quette，《Cloisonne: Chinese Enamels from the Yuan，Ming and Qing Dynasties》，紐約，2011年，頁291，圖130。
A TEADUST-GLAZED QUADRILOBED VASE, QING DYNASTYChina, 18th to 19th century. Of flattened baluster form, rising from a flaring foot, surmounted by a tall, slightly flaring neck with quadrilobed rim, the neck flanked by a pair of dragon-form handles, covered overall with a silky yellow and green spotted teadust glaze, save for the foot rim revealing the buff ware.Provenance: New York trade. Condition: Very good condition with minor old wear, the upper rim slightly smoothened, and manufacturing flaws including pitting and glaze recesses.Weight: 576.1 g Dimensions: Height 19.7 cm Auction result comparison:Type: Closely relatedAuction: Bonhams London, 10 November 2011, lot 241Price: GBP 3,750 or approx. EUR 6,700 converted and adjusted for inflation at the time of writingDescription: A teadust-glazed four-lobed vase, 18th/19th centuryExpert remark: Compare the closely related form, glaze, and handles. Note the size (28.4 cm).清代茶葉末釉葵口雙耳瓶中國，十八至十九世紀。葵口瓶，敞口，束頸，鼓腹，頸部一對龍紋耳。通身施茶葉末釉，胎體較厚重，胎土淘洗精細，底足露胎。 來源：紐約古玩交易。 品相：狀況極好，有輕微磨損，上邊緣略微光滑，製造缺陷包括點蝕和釉面凹陷。 重量：576.1 克 尺寸：高19.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦邦瀚斯，2011年11月10日，lot 241 價格：GBP 3,750（相當於今日EUR 6,700） 描述：十八至十九世紀茶葉末釉葵口雙耳瓶 專家評論：比較非常相近的外形，釉面和頸部一對龍紋耳。請注意尺寸 (28.4 厘米)。
A MID VICTORIAN GLASS CLARET JUG the spherical body engraved with sphinx, Greek Key and leaf scroll ornament, together with armorial, 22cm high, together with a selection of decorative glassware including a Queen Elizabeth The Queen Mother cut glass vase with matching silver mounted plinth (a lot)
A GROUP OF THREE BRASS TABLE LAMPS including a baluster form vase lamp with a ribbed body, 36cm high, a turned candlestick lamp, 39cm high, and converted oil lamp with orb reservoir, 50cm high, all measured to the base of the electrical fitments (3)Provenance: The Christopher Hodsoll Collection.
19th Century Wedgwood Jasper pot pourri vase and cover, of twin-handled campana form, sprigged with classical figures, impressed mark, 39cm high Another example, ornamented in black jasper is illustrated Reilly (Robin), Wedgwood, 1989, Vol II (dated c1830-50). The vase was still in production later in the 19th c, being one of the shapes (no 43) illustrated in the Wedgwood '1878' Catalogue of Ornamental Shapes (Reilly, op cit, plt 940).
Martin Brothers stoneware gourd vase, ovoid form with everted neck, modelled with striations glazed cream over dark green, the base inscribed ‘Martin Bro London & Southall’ and dated ‘8-1903’, 15cm highThe paint has chipped off on around fifty percent of the outside rim and a couple of 1cm lines on the inside of the rim. There are pockmarks and an imperfection on the body of the vase.
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